I was giving script notes all day yesterday but I managed to try some color before that. I learned that my digital brushes are so good that I can muddy them up just like real paint. However, I can erase the worse parts of that. I'm still in the coloring book, stay in the lines stage of painting but an overall color adjustment made this a little more cohesive than it was originally. I might try some colored lines instead of black.
I also have to decide on what Clawd's wings look like.
I recently put aside my philosophical objections about the subscription model instead of a flat price and subscribed to Adobe Photoshop. And to get the most from my new digital experiment I ordered a pack of awesome brushes from KyleBrush.com . Now if I was an actual painter I'd really be excited.
But the ink pens alone are awesome. And pencils that look like pencils and even watercolors!
In accordance with my new commitment to posting art here rather than Facebook, I present the above. I don't feel I should include all sorts of keywords and tags when I do this. Let people stumble upon my old pal.
Meanwhile, I have two projects I wish to develop. One, pitching a studio a show with the characters they already own. The other, my own project to pitch to Amazon or just for myself as a possible web comic (by which I mean a comic book property that I assume no one would publish so I'll slip it online.) Instead of doing either, I drew the above.
That's all for now.
I haven't posted in a very long time. The usual reasons. The development material that I'm most interested in sharing is, by it's nature, legally unsharable since I'm using the characters of someone else. When I'm not in development I using my writing time, trying to come up with something to pitch.
I'm currently directing three, now it looks like a possible six, 66minute action adventure videos based on a series of middle grade books. Again, can't talk about things in production because marketing a production is hard enough without staff posting random art.
And of course, I'm lazy I'm constantly thinking I have nothing worth posting. But I realize that I post creative links to my Facebook page all the time. Links recommended by other artists. So I've decided to put that stuff here, not only as a source of cool information but as reminder that I should post here more often or just shut the place down. So here's a link that John Hoffman posted. John is a story artist up at PIXAR but just before he left he did design work for me on a possible Cartoon Network show.
Animation often lags behind live action film techniques by several decades. Not so much the case with CG fims but when I started at Disney Features in the mid-seventies the film style was no different than what was done in Snow White. Actually, Snow's terrified run through the woods was more avant garde than anything from Jungle Book through Fox and the Hound.
In TV animation, the choice of camera angle slavishly follows Rules #5 and #6. Usually. There are times you WANT to confuse the audience momentarily as to where characters are in relation to each other and then reveal it a few shots later. Audiences like the mini-surprises that happen along the way, even the ones they barely notice.
I remember that in the early days of Disney TV Animation, there was a standing rule that there could be no signage on buildings because the cartoons would be sold around the world. So you couldn't label a shoe store. This led to an establishing shot of shops with giant shoes out front because "You have to have an establishing shot so the audience knows where you are!" Maybe. But why can't that establishing shot be inside, you know - where the character is sitting in a chair surround by shoe displays? Less work for the layout and background department too.
That reminds me of a book I've recommended before. If you have any interest in storyboards, directing, comic books, illustration, in short, any creative art that uses visuals to communicate a mood or story, own this book. FRAMED INK is a beautiful book that is packed with dynamic compositions to use in your own work. Buy it in the usual places.
Jake Parker is another artist that I used in the development of a science fiction series that never sold. Oh, to have that Disney money to throw at cool artists again. Ah well. Anyway, I posted a link to Jake drawing a robot recently. I enjoy watching and listening to artists draw and Jake is a natural teacher. But instead of reposting his recent robot sketch I'm ending with an older YouTube video that shows him drawing a lava monster.
So there you have it. My first post of 2015 about exploring the creative process. I'll try to make this happen more often and come up with some original content of my own.
These next articles weren't numbered originally. I hope to make them more searchable by doing so now. One of the key execs at Disney Junior has said to me more than once that she appreciates the fact that I pitch shows instead of just gags, a group of characters or a character design. I find that weird. What are the other guys doing?
Back at Disney, I was developing ideas for a musical Jeckyl & Hyde, direct to video feature. But I sensed original productions were going nowhere in competition with the never ending parade of sequels so I volunteered to return to TV on a HERCULES series. I loved mythology, the superhero side, the irreverence and the design sense of the feature that was still being animated. Plus I'd be working with Bob Schooleyand Mark Mccorkle, partners on many of my projects. (This was well before they created KIM POSSIBLE.)
We looked at the movie and saw that the best fit for The Disney Afternoon would be to use the teen Hercules instead of making a sequel to the movie. (Although it would've been cool to do a big action series). We used Hercules' trainer, Phil, and the muse with the broadest personality to act as competing mentors to the boy. We pitched to Michael Eisner, he gave his blessing and we had a greenlight... for about five minutes.
That's when Dean Valentine, then head of Walt Disney TV Animation, told us, "You don't have a show yet." We grumbled that Michael Eisner seemed to think we had a show but went ahead and re-examined everything we had done. Because we didn't have a choice. I don't remember him giving us notes beyond that.
That re-examination led to a much stronger idea: young Hercules in high school as an outcast along with his outcast friends, Icarus and Cassandra, brilliantly played by French Stewart and Sandra Bernhard. Turned out to be a beautiful show and one of the best written, thanks to Mark and Bob.
Darkwing Duck had a similar, "negative note" stage of development. Originally it was Double O Duck and a one note spy parody. Jeffrey Katzenberg told me it was a one note spy parody and ordered me to do it over. It became a much stronger, much funnier and fresher series.
Greg Weisman pitched a spin off of the Gummi Bears that featured some of the most entertaining characters who had been featured either as villains or as guest stars. He had a solid setup, great potential for stories and no show. Greg learned his lesson and created the fan favorite Gargoyles.
Each of these early concepts had solid characters and plenty of story potential. What they didn't have was a defining focus, a "franchise," the situation that sets up the sitcom. Your characters need to band together to protect the planet, solve a crime, raise a family, run a business or "try to take over the world." Whatever it is, that situation should put them under pressure, socially, physically or ideologically in a way that will make their choices harder or more extreme.
Darkwing Duck fought crime at the same time as raising an incorrigible daughter who wouldn't stay out of his hero business. That's a richer story mine than just superhero parody. Look for a situation that highlights what you want to do with the series. Our first Hercules pitch was okay, Hercules had to learn to be a hero. We gave him competing teachers, one that pushed physical achievements, one that concerned herself with emotions and his sensitive side. But the high school backdrop made it easier to tell those stories and made it more relatable to the audience. Young Hercules had to defeat monsters while trying to keep his grades up and find a date for the prom or whatever.
"Oh yeah? What about--?" Yes, yes. Series sell without a defining focus. I get it. But selling those is often a matter of relationships and having proved yourself ahead of time. There were hundreds of family sitcoms before The Simpsons. What was the hook that sold it?
James L. Brooks was already a television giant with a distinguished pedigree. He was producing The Tracy Ulman Show and wanted small animated bits that would compliment the show's sketch comedy. He knew Matt Groening's Life in Hell comic strip and called him into pitch. While sitting in the lobby, Groening realized that if he sold his comic strip idea, he'd lose all rights to his life's work (up until that time, anyway). He came up with the idea of doing slices of a family's life with the irreverent attitude of Life in Hell. That intrigued Brooks and they produced a series of shorts. Those shorts showed the potential of the idea, James L. Brooks provided comic security and the network approved the series version of that family which went on the air as The Simpsons. It fell under the very broad comedy of "Life with Wacky or Long Suffering Dad" but became much more.
But barring any high profile relationships you have with the Hollywood Elite, put the extra effort into the material you want to pitch. Put your characters into a metaphorical pressure cooker. The ODD COUPLE is not much of a concept without forcing the opposing personalities into the same apartment. The crew of the original Enterprise were well defined characters and ready for adventure but wouldn't have become cultural icons without their "five year mission to explore strange new worlds, to seek out new life and new civilizations..."
So look at your characters and the stories you want to tell then ask yourself, "Is it a show yet?"